Wagner Books

OH my Goodness, "She Did That" was the best book I have read in a very long time. It is a must read, the wrting was great, reading this book makes you feel as if you are having a true conversation with Bryan Terry. It may not be written in what many may call proper english, it is written in everyday used and listen to language. I recommend this book to be added to everyones libary...

C. Nicole
Diva World Ent

Kerry E. Wagner author of She Did That, takes Urban Literature to a whole new level. "She Did That" is a story of Bryan Terry, being told over a 10 year period of this mans life. Growing up Houston, TX Bryan Terry resides in a community in which, we looking in from the outside could view as a life full of craziness and dysfunctions. To those living this life...it is just that, Life. Would you title this "Survival in the Hood?" Possibly! This is a passionate recount of the life of a young man and how his choices will have an impact on him for the rest of his life. Bryan Terry fathered children with several women, leaving the question, did he care or have love for any of them? He does accept the fact that the legal system would always be in his life or in his pocket. How does he deal with this issue, is one of the challenges he faces. Living the life of a hustler...playa on the streets, always trying to maintain an image and level of respect. Does Bryan Terry want more?

Mr. Wagner takes you on a rollercoaster ride with this character Bryan Terry. Experiencing how he views woman, loyalty to his family and the need to protect them from the life he has created for himself. Expressing a great respect and admiration for a person not of blood but of his life, Willie D. To the vision of who he would like to be in life and the obstacles he faces to achieve this goal. You will encounter stories of lust, power & control, loyalty, coming to understand his definition of integrity, respect to the desires of love and true commitment.

She Did That is a challenging, thought provoking and realistic view into a life that some of us only experience through a story of this nature. As I finished reading this book, I sat back and looked at my own life. Asking myself, why I made the choices I have, was I true to myself, did I always show integrity and how was my love ones affected by my choices. I know Kerry E. Wagner has several projects in the works and I look forward to future books from this author.


S.E. Koshi aka Lady Flava
Flava Coffee House
Flava Book Reviews
Flava Rating: 9 snaps

I am an avid reader who typically finishes a book, at the most, in 2 days. It took me so much longer to read She Did That. Not because I didn't like it...quite the opposite. I loved this book! But it was so real and with the drama I was dealing with at the time, hit so very very close to home. I would read it and then stop and digest what I had just read...then usually cry a little...then relate it to either what was going on then or had occured in my past. I felt as if I had known every single one of these people. I had to keep reminding myself that I was reading fiction and not a biography. I loved the way the book moved through this man's life. Because of the casual tone the book was written in, I alternated between feeling like I was in an extended conversation with Mr. Wagner and feeling like I was reading a long, long much treasured letter. I need to know if Bryan Terry got it all together. I so hope so...he is too much like some of the men I have known and cared about it my life...I look forward to the next one...

I did not enjoy this book. It was hard to read because it was written with a lot of slang.

I am upset that I wasted my money on this book. It was not very well written at all, and the story line does not flow. It jumps from one subject to another quite frequently, with no ties to bind them together. The grammar is hideous. I would like to know who edited this book, and have them fired immediately. My suggestion-do not waste your time on this rag.

I have been an avid reader of baseball history for most of my life and I first purchased this book in the 80's and wore it out and purchased another copy. There isn't a season that goes by that I don't read it again. When you read the interviews of the ballplayers, recorded by Lawrence Ritter, it's as if you are a fly on the wall hearing the conversations first hand and the ghosts of seasons long past are brought back to life.

You get a first person account of some of the most famous moments in early baseball history through the fond recollections of some of the participants. Merkle's boner, Snodgrass' muff, Wambsgan's unassisted World Series Triple play are all recounted. The most entertaining parts of the book recount tales of Germany Schaefer stealing first base, the chronicles of Charles Victory Faust, and Wilbert Robinson attempting to catch a grapefruit dropped from an airplane. You get a glimpse of Ty Cobb from his teammates Davy Jones and Sam Crawford. You get several different takes on the great manager John McGraw from several different players who once played for him.

This is hands down the greatest sports book I have read. It's not only a great history of the early days of 20th century baseball but a wonderful piece of Americana. The book breaths humanity and paints a portrait of the ballplayers of the past who played for the love of the game unsullied by steroids and multimillion dollar contracts.

If you love the game of baseball as it once was and still should be this is a "must read"...some of the players interviewed by Ritter were unknown to me and I was fascinated to learn of their exploits...I ordered an additional three books and sent them to long time fans of the game...If I was a GM today in MLB I would have every member of the team read this book so that they might appreciate the game as it was in its infancy...the modern player (in most cases)doesn't realize how fortunate he is to wear a major league uniform and earn the money today for playing a "game"

This book was a lot of fun to read, it showed a different side of the sport of baseball other than statistic. Told by the people themselves who played the game and in their own words. The author just let them go on for as long as they pleased with any stories they might have to tell. If you enjoy baseball history this is a must read.

This superb oral history of baseball circa 1900-1920's contains many priceless tales. After Ty Cobb died in 1961 author Lawrence Ritter (1922-2004) took his tape recorder and traveled the USA to interview 22 surviving players from that remarkable era. We hear from top stars and established players, including Ed Roush, Sam Crawford, Smokey Joe Wood, Chief Meyers, Sam Jones, Bill Wambsganss, etc. Each player reminisces in his own way, recounting games, teammates, owners, managers, crowds, ballparks, etc. Some talk at length while others are briefer, but each is articulate and illuminating. I particularly liked Rube Marquard's memory of visiting the Chicago firehouse where he'd once slept as a transient, Stan Coveleski's view that baseball kept him from the coal mines, and the remembrances of Davy Jones and Jimmy Austin. It was also interesting to see how these players viewed superstars Honus Wagner, Christy Mathewson, Ty Cobb, and Babe Ruth. This book provides readers with a superb sense of baseball before night games, air travel, TV, radio (except after 1922), farm systems, and in some cities, Sunday baseball.

Ritter set a standard with this superb oral history. The players interviewed here have all departed (the last in 1988), but their memories live on in this superb book. Fans might also enjoy BASEBALL WHEN THE GRASS WAS REAL, a similar effort about a later era by Donald Honig.

Statistically, baseball back then couldn't be more at variance with the game now. Cy Young threw 511 career victories, and 750 complete games. In 1909, Ty Cobb led the majors both in batting average (.377) and home runs (9). Cobb's teammate Sam Crawford hit over 300 triples in his career.

What to make of such numbers? Lawrence S. Ritter's "The Glory Of Their Times" strips away the statistical confusion by getting to the heart of Major League Baseball's early days, the players themselves. An economics professor, Ritter invested his downtime from 1962-66 in interviewing elderly men, baseball players all who knew what it was like to face a Walter Johnson fastball, or have Ty Cobb slide into the base they were covering.

"People were more unique then, more unusual, more different from each other," says Davy Jones, who played on the Tigers with Cobb and Crawford. "Now people are all more or less alike, company men, security minded, conformity - that sort of stuff. In everything, not just baseball."

Transcriptions of Ritter's interviews with Jones and 21 other former players, including Crawford and two others then in the Hall of Fame, makes up the whole of "The Glory Of Their Times," published in 1966 and later extended with four more interviews in 1984. Nearly all the interviews offer both testimony and color for the game as it was then.

Bill Wambsganss tells us about his unassisted triple play in the 1920 World Series, and how Ring Lardner once used his last name to rhyme with "clam's chance" and "Ray Chapman's pants". Fred Snodgrass tells us about his famous muffed fly in the 1911 World Series, and how his New York Giants tried to psyche out the Philadelphia Athletics by sitting on the dugout bench, ostentatiously sharpening their spikes.

You hear so much about another famous World Series moment, the Merkle "boner" of 1908, that you feel like you were there on the field, too. There's a Rashomon-like quality to hearing various interviewees give their different takes on such things as the character of John McGraw and whether "Giant Killer" Harry Coveleski was run out of the league when he was caught chewing on bologna. (Snodgrass says so, while Harry's brother Stanley, a major-league pitcher himself, calls it "a lot of bull".

Not all the interviews are riveting. One wishes Ritter could have pushed some of the old players more, like the rumors that swirled around Smoky Joe Wood involving fixes. But allowing the subjects the reins probably drew more color out of them than a Grand Jury could have. I love how Crawford keeps telling Ritter he hasn't much time to talk, while giving Ritter one of the longest and most entertaining interviews in the book, describing how players would allow themselves to be rubbed down with "Go Fast," a noxious combination of Vaseline and Tabasco sauce that made them sweat like a sauna.

"I hope I haven't said anything I shouldn't," Crawford says at the end. "There are a lot of the old-timers still left,you know, and they're liable to say, 'That fathead, who the hell does he think he is, anyway, popping off like that!'"

If you like baseball even a little, you will enjoy "The Glory Of Their Times" quite a lot.

People who have learned how to write properly organized essays in school might find the kind of writing that Wagner did rather loose, to say the least. I'm far more interested in rock 'n' roll as an artform that appeals to the contemporaries of those who are moderately talented than in the fine art of Mozart, but favorite songs can be done well no matter where they came from. Not half bad is more likely to be my judgment on anything I would like to hear. I have enough CDs to remind myself of music in many forms, but the creative tension involved in trying to write a review of a book like THE TRISTAN CHORD also reminds me of many things that are not in this book.

THE TRISTAN CHORD ~ WAGNER AND PHILOSOPHY by Bryan Magee starts out strongly with the idea that Wagner's work is based on an understanding of life that exceeds anything within the confines of philosophy or knowledge as it is contained in universities. Clearly Nietzsche acquired so many of his ideas from Wagner because Wagner had realized that ancient Athens was the kind of society he wished to inhabit, and the festivals at which tragedies were performed were so different from the commercial nature of entertainment values in modern global intellectual property that the context has to be explained to modern readers as follows:

... Third, human participation was also maximized, in that the whole community was involved. Dramatic performances were accorded the highest possible importance, a significance that was tantamount to religious - nothing that the community did was seen as mattering more, unless it was fighting a war. This attitude could scarcely be further from that of a bourgeois society towards its commercialized art. When Athens put on a play the entire life of the society revolved around it: the day was a public holiday, all other activities came to a halt so that everyone could go to the play, no one talked of anything else, attendance was free, the actors were maintained by the State; what we would call commercial considerations were totally absent. As Wagner summed it up in his essay `Art and Revolution,' published in 1849: `With the Greeks the perfect work of art, the drama, was the sum and substance of all that could be expressed in the Greek nature; it was - in intimate connection with its history - the nation itself that stood facing itself in the work of art, becoming conscious of itself, and, in the space of a few hours, rapturously devouring, as it were, its own essence.' (pp. 86-87).

Few adults in American society were able to offer young people anything as compelling in the 1960s, when Walter Kaufmann was writing and translating, but rock 'n' roll was having more impact. The Beatles are not listed in the index of THE TRISTAN CHORD, but one of their songs, `All You Need Is Love,' is mentioned on page 60, long after comments about the early Wagner opera `Das Liebesverbot' (p. 24) being in response to the intellectual discontent of the Young Germans:

In the arts they saw the classic figures of their immediate past, people such as Goethe and Mozart, as pre-revolutionary, and therefore antediluvian, no longer speaking to the condition of the young. ... They glorified love as it really was, the sexual intoxication of the young, and they saw it as socially subversive. To express it they wanted an art that was freely and frankly erotic. In opera this caused them to look away from Weber to the unabashed sensationalism of the French, and also, much more seriously, to the sensual, hedonistic lyricism of the Italians. Perhaps most important of all to the Young Germans as individuals, they wanted to live out these principles in their own lives, loving and expressing themselves as liberated beings, innovating boldly in politics and the arts, deriding authority, and free for ever from the stultifying conservatism and conventionality of their elders. (pp. 24-25).

The philosophy of Feuerbach is considered a major source for the setting of Wagner's `Ring' cycle of operas. I tend to associate this kind of catastrophe with the Vietnam syndrome of my generation, but THE TRISTAN CHORD links Feuerbachian philosophy of religion to picturing the gods as a gang of crooks. Just imagine, "Isaiah Berlin used to exclaim complainingly, `But they're just a lot of gangsters!'" (p. 54).

The interesting theme for me is the idea that Wagner did a lot of writing to generate the creative tension which he would like to turn into a form of art critical of his own society by composing music that would maintain a stream of consciousness worthy of the kind of life currently possible or imagined as a future ideal. "Because Wagner believed that we live in `a whole world of injustice' which was about to be swept away and replaced by `a righteous world' there is a sense in which he was living for the future." (p. 59). "Because the drama of ancient Greece is the art he is bent on re-establishing, and the opera of his contemporaries is the obstacle he is determined to sweep away, he is liable in a discussion of almost anything to dive off into the question of how whatever it is he is talking about relates to either or both of those things." (p. 91).

... The musical motives need not simply be repeated, they possessed infinite possibilities of musical transformation - the light hearted could be made tragic, the triumphant hollow, the confident full of foreboding, the loving grief-stricken. The potential for musical metamorphosis was protean, and also endlessly subtle. (p. 91).

Rock 'n' roll has filled many pockets with big bucks, but it is also carrying remnants of more than philosophy could say. The vocabulary was entirely different, but the simplicity of a chorus that kept repeating after verses that can go from bad to worse in so many ways, certain songs could be described as blues. Just one example is a song, `(Down to) SEEDS & STEMS (Again)' recorded in Austin, Texas, November, 1973, written Billy Farlow and George Frayne, who do vocals and piano for a group called Commander Cody & His Lost Planet Airmen, which was included on a collection of their songs `Too Much Fun' released on CD in 1990. A looser version on `Marijuana's Greatest Hits Revisited' has someone singing, "I have a few decent memories of what I was going to say. I'm down to seeds and stems again, hurray!" At times, it is nice to discover that the fun is going to stop and life can go back to being about something else. But for us, what else could there possibly be?

Someone once said that one has to be a philosopher to understand "Parsifal." The statement is not far from the truth. In fact, it can apply to Wagner's mature works from "Ring" onwards. Magee's book is then heaven sent.

That "Parsifal" is the antithesis of "Tristan" gnaws at me for years. To understand it is what I wanted out of "Tristan Chord." According to Magee, the contradiction can apparently be traced back to Schopenhauer's ambiguity towards sexuality. Schopenhauer, on one hand, celebrates sex as this quasi-mystical realization of life essence - the will to live. On the other hand, he expounds compassion, or the denial of the will to live, as the road to redemption. Wagner grappled with this contradiction when he worked on "Tristan," and reconciled it in "Meistersingers", and more interestingly, in an earlier work of his, "Tannhauser."

Needlessly to say, I am very impressed with Magee's rich insights, solid scholarship and sensitive treatment of German history and philosophy.

Some of my favorite chapters are as follows.

Chapter 4, Feuerbach's influence on early Wagner and "Ring"
Chapter 9, Schopenhauer's philosophy
Chapter 10, Schopenhauer's powerful influence on Wagner
Chapter 12, on "Tristan"
Chapter 14, on "Meistersingers"
Chapter 15, on "Gotterdammerung"
Chapter 16, on "Parsifal"

This is THE book on Wagner that I hoped would one day be written and which I knew could be written. The author has no use for post-Holocaust axe-grinding or ideological regard, and neither does he indulge in any of the by now ubiquitous but superficial kulturgeschichtliche approaches in which Wagner is one more symbol-player to be pigeon-holed and arranged (much like the props in Hans-Juergen Syberberg's "Parsifal" film), nor does he dish up Wagner with a sideorder of Marxist criticism. Instead you get Wagner as a living, breathing, thinking, and creating human being, a real man (no impersonal cultural forces here!) who encountered ideas and reacted to them in the completely unique way that his personality demanded.

In a way one can only appreciate this book if he has already spent time ploughing through even a fraction of the tendentious trash in print that attempts to deal with this man (e.g. Gutman, Millington, even M. Owen Lee at times). If you have done that, then you will really be in a position to enjoy what Bryan Magee has done, how he has done it, and what a tremendous debt we owe to him for presenting to us Wagner the man in all of his outrageous but fascinating complexity. This is a book for people who are interested in learning more closely what kind of man Wagner actually was (that, for example, he was a 'commanding' personality, what that might mean in real terms, and that, in itself, should not be held against him)and who are equally interested in distinctions being made along the way that really do amount to something and are not just so much critical hot air.

After you read this book, and if you have not already done it, read Michael Tanner's "Wagner" and enjoy hearing from someone who knows actually knows what he is talking about and has spent some time thinking about it instead of listening to the clowns who parrot the prejudices they've picked up from "The New York Times Review of Books".

Bryan Magee writes with enthusiasm and clarity. He's particularly good at explaining philosophy in layman's terms. According to Magee, Wagner was the most erudite of all the great composers, and his philosophical beliefs profoundly effected his compositions. His intellectual life can be broken into two main periods: the early, one of political radicalism and activism, and the late, one of resignation and mysticism.

As a young man Wagner believed that a revolution - a total annihilation of the existing order - must take place in order for people to start anew to build a free and equal society. This was the intellectual zeitgeist throughout Europe in reaction to the sweeping changes brought about by capitalist industrialization in the early 19th Century. It was, in part, a romantic longing for a simpler past.

In Wagner's first period two figures were his main influences, Mikhail Bakunin, the anarchist, and Ludwig Feuerbach, who taught that mankind created the Gods, or God, in its own image. This was not to dismiss religion but to appraise it seriously as something illuminating about human beings.

After numerous inconsequential attempts at revolution took place throughout Germany in the mid-1800's Wagner became disenchanted with politics. He immersed himself in the philosophy of his contemporary, Arthur Schopenhauer. Schopenhauer wrote a great deal about music and it occupied a large part of his philosophical outlook. Both he and Wagner shared an interest in Buddhist thought.

Schopenhauer maintained that human beings are the embodiment of a metaphysical "will", so that willing, wanting, longing, craving and yearning are not just things we do, they are what we are. And he believed that music was a manifestation of this metaphysical "will." Thus, music directly corresponds to what we ourselves are in our innermost being. Wagner's "late" period dates from his extensive study of Schopenhauer.

Schopenhauer wrote that music proceeds by creating certain wants which it then spins out before satisfying. Even the simplest melody makes us want to close eventually on the "tonic" and provokes dissatisfaction if it ends on any other note than that.

Schopenhauer gave special attention to a technical device in harmony known as "suspension," and this instantly appealed to Wagner's musical sensibility. The suspension in music is the penultimate chord, when what we had just heard was what we thought was the penultimate chord. This causes a sense of discord in the listener. Schopenhauer said "this is clearly an analogue of the satisfaction of the will which is enhanced through delay."

This inspired in Wagner the idea of composing an entire piece of music moving from discord to discord in such a manner that the listener was always in a state of tension waiting for a resolution that did not come. This would be the musical equivalent of the dissatisfied longing , craving, yearning that our being is. There could only be one resolution to it, the final chord that was the end of the musical score (and in an opera, the end of the protagonist's life). This would be a musical expression of the essence of humanity in the universe.

The first chord of Tristan is the most famous chord in the history of music: F, B, D sharp and G sharp or any chord of the same intervals. It contains not one, but two dissonances. It then moves to resolve one of the dissonances but not the other, thus providing resolution, yet not resolution. Thus as the music proceeds, in every chord shift something is resolved but not everything. This "partial satisfaction" yet continued "frustration" carries on through the entire work. The only point where all discord is resolved is in the final chord, which is the musical analogue of freedom from striving, freedom from the tension that is existence. It is like a mystical state of nirvana.

What made this double-dissonance chord so famous was that it, in effect, closed the door on the age of classicism. And it opened the door to impressionism, atonalism, and modern classical music in general.

It was under the influence of the Schopenhauer-Buddhist belief system that Wagner's late works, Tristan, The Mastersingers, and Parsifal were written. Actually, since most of his operas were written piecemeal with many interruptions (sometimes years in length), there are traces of the early and late philosophical influences in almost every opera. Tristan is the only opera that Wagner wrote uninterrupted from start to finish.

There are many more aspects of Wagner's life and work contained in this book. New insights are provided into the Nietzsche-Wagner relationship and the vexed anti-semitism of Wagner. It should be noted that although Magee believes the above conjunction of philosophy and music in Wagner, he is not dogmatic. He says late in the book that "one does not have to be familiar with Schopenhauer's ideas, let alone accept them" to appreciate the greatness of Wagner's music.

This book has added a new dimension to my understanding and appreciation of Wagner. I heartily recommend it.

I'm a careful fellow yet I make quite a claim in the title of this review; and I confidently stand by it. Wagner has stimulated an enormous bibliography, but most of it is biography and/or polemics regarding the man himself or else "way out" (e.g. Jungian) interpretations of his art. Surprisingly little criticism of real seriousness pertains to the actual music. Bryan McGee's book magnificently fills that gap.

It is not a musical analysis per se, but a study of Wagner's changing philosophical values and how they influenced his music...and there is no composer in history who was a more acute intellectual than Wagner and more influenced in his art by ideas. You cannot fully understand his art without this book...it is that seminal. And it does not pertain only to "Tristan und Isolde," despite the title. It covers the entire sweep of Wagner's output.

Mr. McGee brings to his text the virtues which previously made him an outstanding author in "popularizing" philosophy: clarity, honesty, common sense, and even-handed weighing of the evidence. I hesitate to say he "popularized" philosophy. That could suggest a "dumbing down." And that is definitely not this book. It is crystal clear for a layman yet it is a scholar's dream in substance...a rare combination.

The book is an absolute must for anyone who has ever been moved by Richard Wagner's music...and perhaps even for those who have wondered why the rest of us are so moved by it. I cannot recommend it enough. There are only two other texts in the last century which compare, in my opinion: 1) Ernest Neumann's multi-volumn biography of Wagner; and 2) Deryk Cooke's "I Saw the World End," (first published 1979), which is the definitive (if incomplete) analysis of Wagner's "Ring."

If you love Wagner's music, or want to investigate it, this book is both a delight and a "must."

I never knew there were so many different kinds of caterpillars. The book has wonder color pictures and great information on each species. One of my favorite moths is the hummingbird moth. I now know that its lava is a horn caterpillar, the kind I would automatically kill when found. Not any more!!
This book will be on my porch for quick reference every time I go into the garden.It is really great.

Caterpillars of Eastern North America is easily the best book on the subject in general publication today. It is an amazing book with incredible insights into the habits and lifecycle of this neglected stage in Lepidoptera metamorphosis. You will not be disappointed if you buy this fascinating guide.

A great book on ID of caterpillers!! I was able to find the IO Moth caterpiller with this book in hand. Very in depth info pack in this book. I would highly recommend this book, especially if one finds caterpillers they've never seen before, which was my case. Check out my photos!

Super. Beautiful photos and very detailed, and the photo of the adult is also very helpful. My only complaint would be trying to locate a specific caterpiller, some sort of indexing based upon size, color, spines, hairs, etc would be helpful (I'm thinking something along the lines of what is done in "Weeds of the Northeast" (Comstock Books)). Overall an exceptional book.

I've waited a long time for a book like this! The photos and descriptions have great detail. Identification is easy enough to be used by a young person and scientific enough to satisfy a professor.
Guides to butterflies and moths seldom contain pictures of the caterpillars of the adult stage insect. This book has pictures of both.
I think having a book like this (are there any others?) is essential for someone who spends time in the garden, or any natural environment.
Now I can know what is living in my garden and eating my plants before I decide to squash or not to squash it.

This is yet another one of the books that was required for my Arts & Humanities class "The Horror Story"...I must say that I'm quite glad that I was introduced to this novel.

This book houses some of the greatest horror stories since the genre came into existence. I have a new appreciation for Edgar Allen Poe. Algernon Blackwood is an AMAZING writer, quite possibly my new favorite. There is even a story written by O. Henry!

This book could easily be considered a bible among those who are horror-genre fans. I can't say much else about this book other than IN MY OPINION it is worth the money you will spend on it and the time you will spend reading it.

They quickly notified me when they were shipping it and it showed up fast. The book arrived in excellent shape. I am very pleased with the level of service provided.

This book is, quite simply, the best collection of 19th and early-20th century short fiction of the dark variety in existence. First published in the 1940s, this single (albeit fat) volume is a goldmine of the roots of modern horror, a great way to see where today's horror heavyweights got their inspiration and influence.

Some authors whose stories appear within: Bierce, Blackwood, Dickens, Faulkner, Hawthorne, Hemingway, James (both Henry & M.R.), Kipling, Lovecraft, Machen, Poe, Wells, and many more, a good mixture of horror genre regulars and more conventional or 'literary' authors to whom dark fiction was a departure from the norm. If many of those above names are unfamiliar to you and you consider yourself a fan of dark fiction, you owe it to yourself to read this book.

[Sidenote: The book also contains two of my all-time favorite short stories from two slightly lesser-known authors: Richard Connell's "The Most Dangerous Game," and W.W. Jacob's "The Monkey's Paw." As far as I know, this is the only single volume that includes both. The latter story is, in my humble opinion, THE most perfect scary story of all time.]

Once again: Wagner & Wise's collection is the best thing of its kind.

If you're looking for a little fear on your pallet, this book will dish it out in buckets. The authors are old world craftsmen who wrote these stories on dark and stormy nights. As you read, the wind will howl, dead children will laugh, and the scurry of rats will make you look around your room. Drink a glass of wine, eat dark chocolate, and curl up to this one in bed. Dead men do write good tales.

There's little to add to what earlier commenters have written. But I do want to note that not only are the stories themselves awesome, but the collection as a whole serves as a broad and useful introduction to spooky stories. Many representative authors of the 'old school' are included, like Sheridan Le Fanu, M.R. James, Arthur Machen, Algernon Blackwood, Benson, and the much neglected Oliver Onions. Lovecraft is, of course, there, too. The editor couldn't have chosen better examples to inspire readers to seek out more of the represented authors' works.

I've been part of Michelle's BUFFMOTHER Rally Room for over two years now. It's a place with an amazing positive force. I have applied much of what Michelle teaches into my workouts over the years and have seen some Great Results and I'm currently training with her personally and can't wait to see how I can change even more!! I knew she was writing her book over the years and couldn't wait for it to come out.
When it did, I was so impressed by the book that I bought 5 more as gifts for my daughters and girlfriends. To be able to understand and work with your hormones is SO valuable!! She has a way of writing that really helps you to understand the cycle and the reasons we feel the way we do at certain times of the month and then how to work with those times in our eating and workouts. Why not work WITH your Hormomes instead of Against them!! Also in the book she shares information to her Rallyroom, her supplements and how you can Build a Better Legacy for yourelf.

Everything a woman needs to know about how to achieve a beautiful, buff body before and after babies! Packed full of information for women and how to understand and overcome self sabotage.

I've had the opportunity to work with Michelle and she is absolutely amazing. The information you will find here in her book is priceless!! I highly recommend this book to women who are interested in getting in shape and staying in shape!

Easy read, fantastic information, revolutionary concept! Michelle hits it out of the park--It's about time someone developed a concept that works WITH a woman's body. I can't wait to let my inner BUFFMOTHER out!!

I have had the opportunity of training with Michelle in the past, and was amazed at my results!! This book is invaluable to women everywhere, as it contains ALL of the information she gives to her personal training clients (for $1200), yet it's in the palm of your hand.
I would definitely recommend it to anyone out there who is ready and willing to challenge themselves in order to see the person inside of them they've always known was there, yet haven't seen in a while or never had the opportunity to let shine through. Her results speak for themselves!!! 13 months after giving birth to her 3rd and 4th child (twins by c-section) she was in incredible shape. This book is a MUST READ!!!

I am a yogi from an educated family, and my parents gave me this book when I was 12. Nietzsche's presentation is typically unsystematic and he was a pioneer ensuring that we could view philosophical beliefs in a non-linear manner. The dichotomy of his unstructured book organization and his clarity and precision of thought create a tension that can break through many Western Black/White, Right/Wrong thought patterns to see deeper truths. When he says "our humanity is to be overcome" - some have used this to justify eugenics, nationalism, and seeing others as "less than." If you read his entire thoughts (get the book!), it is more about overcoming the fragmented aspects of the self that weaken us, so we can be stronger and more pure. This is a spiritual thought from the man heralded as atheistic. Dig deep, and you will find that Nietzsche is beautiful. Yoga community friends - Neitzsche did not justify atrocities. He challenged us to grow and become better than our base qualities. He paved the way for Deserida's gloriously independent thoughts, and was an inspiration for the pop philosopher Ayn Rand's radical worship of the individual over "the masses" (which can be viewed as "cultural conditioning" in our times. This text is applicable to our lives today as the Tao Te Ching. For a completely different perspective (for balance of thought) read about Jainism as well. Then find your truth. Deep wisdom is timeless.

O.k. So I have a minor in philosophy and Nietzsche was one of my inspirations to pursue this as a degree in college. Nietzsche deals with androgony. In more modern terms, men and women are crossing over the line of androgeny with their jock image. They are getting more and more androgynous you can't distunguish between even basic differences between the sexes anymore. While my philosophy professor and classmates dismissed Nietzsche as "not being a first rate philosopher," he does have his points about god and androgeny. This is part of our changing world and in philosophy class I did make my points.

I feel obligated to correct a distortion suggested by `unraveler' below. It is popular to suggest Nietzsche was an anti-semite, but this is a rather lazy habit. Nietzsche's remark on `the youthful stock-exchange Jew' was mentioned. Here it is in its proper environment:

. . . the entire problem of the Jews exists only within national states, inasmuch as it is here that their energy and higher intelligence, their capital in will and spirit accumulated from generation to generation in a long school of suffering, must come to preponderate to a degree calculated to arouse envy and and hatred, so that in almost every nation . . . there is gaining ground the literary indecency of leading the Jews to the sacrificial slaughter as scapegoats for every possible public or private misfortune. As soon as it is no longer a question of the conserving of nations but of the production of the strongest possible European mixed race, the Jew will be just as usable and desirable as an ingredient of it as any other national residue. Every nation, every man, possesses unpleasant, indeed dangerous qualities: it is cruel to demand that the Jew should constitute an exception. In him these qualities may even be dangerous and repellent to an exceptional degree; and perhaps the youthful stock-exchange Jew is the most repulsive invention of the entire human race. Nonetheless I should like to know how much must, in a total accounting, be forgiven a people who, not without us all being to blame, have had the most grief-laden history of any people and whom we have to thank for the noblest human being (Christ), the purest sage (Spinoza), the mightiest book and the most efficacious moral code in the world. . . .

Is this anti-semitism???

if you want to have your moral foundations knocked out from under you, read this book - and then build upon the ruins - Nietzsche's, in my opinion, most accessible work, as his aphoristic style floats over many different topics - don't stop here however, i recommend Kauffman's "Nietzsche, Philosopher, Psychologist, AntiChrist" as a starter if you find the complexity and diversity of Nietzsche's thought to be overwhelming or incomprehensible - he's frequently ambiguous and contradictory but it's more a positive trademark of his works and shouldn't dissuade one from further readings.

If you like aphorisms and philosophy, this book will become one of your bibles. If nothing else, it's just plain fun to read for his incredible wit. Of course you have to put his ideas in the context of the period in which he wrote and understand that he has his own odd prejudices, but the brilliance of his understanding of the human condition really shines through. The biggest mistake any reader could make is to think Nietzsche was an anti-semite---far from it. He was anti-neanderthal. In this book especially the reader sees his low tolerance for received wisdom. This book is nothing less than part of the origin of Western psychology as practiced today. It also represents the demolition of science and philosophy polluted by the received Western theological framework. Some of the best parts are when he skewers religion. You have to love his style even if you do not agree with his pessimistic disgust for piety. This is the kind of philosophy book you need not fret over, unless you harbor wishful thinking about a supremely benevolent deity. Instead of making an elaborate argument about the number of angels that can dance on the head of a pin, as preceeding systematic philosophers did literally and figuratively, Nietzsche bends the pin and throws it in the trash. I wish I had read this before his Genealogy of Morals, as knowing his thoughts here would have made that book far more interetsing and understandable. I highly recommend philosophy students first approaching Nietzsche pick up Human, All Too Human to start their study. And if you are religious and want to bolster your faith, well, you should stay far away from this book.

This book is excellent and everyone interested in Tarot needs to read it. Although it is written for the Thoth Crowley deck with specific references to symbols as they appear on the cards in that deck, I find it quite applicable to most other decks, as well. The discussion of each card is thorough and well written so that beginners will have an easy time with this book and yet be able to give themselves advanced readings through the use of the multi-leveled interpretations offered in the text.

I've been a professional Reader for over 25 years and am very well-read in the field. I can say with all sincerity that this is by far the BEST book on Tarot that I have ever read!

This book has the clearest interpretations I have ever used for the Thoth deck. It has an entire section in the back about each of the symbols in the cards which is tremendously useful. Another great feature is the quick reading "Yes/No" information for each card. The multiple level information on the trumps is great for understanding how a particular one could come up in a reading. And my favorite part of all is the "Questions to Ask" section, because they illuminate the cards so thoroughly. Simply a superb book.

Awesome book! Suzzane definitly knows her material.
She is an incredibly gifted psychic.

"Integral Tarot" speaks for itself - integrating the Tarot into our lives on all levels - physical, mental, emotional and spiritual. It is important to note that the foundation for Suzanne's work is the Thoth Tarot, by Aleister Crowley and Lady Frieda Harris. While the majority of the information contained in this book will also apply to the widely popular Rider-Waite Tarot (by Arthur Edward Waite and Pamela Coleman Smith), to have a work of this depth devoted specifically to the Thoth Tarot is a definite bonus for readers who use this deck.

Each card is presented with astrological and archetypal associations, upright and reversed interpretations, questions for the Seeker to ask themselves when the card comes up in a reading, the yes/no determination for each card (this was a new and exciting addition to Tarot interpretation for me!), quotes, the body aspect (for the Trumps), the Path (for the Trumps), Self Help (for the Trumps), positive and negative qualities (for the Court cards), and affirmations (for the Pips, or numbered cards).

There is a section called a catalog at the back of the book that discusses the major symbols found in each of the 80 cards (the Thoth Tarot has three versions of the Magus, or Magician)that is quite helpful in incorporating esoteric content into a digestible format.

There are also sections on timing, health, and yes/no/maybe cards, along with a very helpful page that lists cards associated with death, legal issues, long term potential, pregnancy, school, and change.

There is a section devoted to the upright and reversed meanings for each of the cards, as well as a section devoted to in-depth spreads.

I found this material to be well presented, easy to understand, true to traditional meanings for the Thoth Tarot, and gifting the reader with a myriad of ways to put the Tarot to work in their own lives.

Even though I'm studied Tarot for years, I found Suzanne's methodology rich and informative in ways that surprised me.
She has integrated the science and art of symbology and made it accessible and useful.

I'm the mother of an 8-year old daughter diagnosed with OCD. This book opened up new doors for us in treating this disorder. It has been perfect for her, and she actually wants to sit down with me to read it. I believe that giving her obsessions/rituals an actual name and introducing her to a child who struggles with similar issues is a major step in our road to living triumphantly over OCD. I strongly recommend What to Do When your Child has Obsessive-Compulsive Disorder to go along with it--I ordered both and, along with my Bible, they have a home right next to my bed and already have worn pages!

We were told by a Doctor, who hadn't even met my son, that he thought my son may have OCD. He was referred to the Child Mental Health offices in our local town and there was a 14 month waiting list! I decided to see what I could do as a Parent and I bought this book. I left it on the table and my son picked it up and read it - his initial reaction was "do you think I have OCD", I replied by telling him that I was interested in the subject as I didn't want to label his condition. Since reading the book he has come along leaps and bounds and his teachers said there has been a remarkable improvement in his confidence and his anxiety has gone!

We got this book the weekend my kids were going to their grandparents. I read it on the way to their house and it captivated their attention, both of them (ages 3 & 5). They listened to every single word intently and quietly. They loved the story of the boy and riding his bike up and down the worry hill. It is quite long though and my voice got a litte sore reading aloud for so long. At the end of the book, my son asked, "mommy who's book is that?" and I said "It's yours". He asked if he could write in it. The pages are black and white pictures like a coloring book. I told him he could color the pictures but not to color over the words so that I would be able to keep reading it to them. Unfortunately at Nana & Papa's house there was an accident involving water and the book so only half the book made it back. The cover was torn off and everything. I was so mad! I will probably re-order the book just because he enjoyed it so much.

The book was OK but not great.

It was overly simplistic and not too meaninful for a teenager or parent. It really only skimmed one aspect of OCD, compulsion, and did not address at all the cause of the compulsion, obsessions.

May be more meaningful to younger children...

As a clinician specializing in the treatment of OCD, I highly recommend this book as a resource to clinicians and families with a child with OCD. I've used in in my practice and found it to be a wonderful resource. Clinicians can buy several copies and loan them out to their clients or recommend that their clients get this book.

Larina Kase, PsyD, http://www.TheSuccessfulTherapist.com

The best thing about this book is that throughout the story you're never really sure which side Kane is playing for, and the fact that he's a barbarian and smarter than everyone else in the book at the same time makes him all the more interesting.

1) I label this is dark fantasy. The main character is not a good guy and thus does things that most "protaganists" won't do.

2) I got hooked on Kane from the Wagner book Dark Crusade. Kane as a character does carry the entire story because he is so good at everything...and believably so.

3) I like how this book reveals a little about Kane whereas Dark Crusade didn't say much of anything. Kane's mystery still stands even after this read making you want more in order to truely understand who he is and where he comes from.

Fun read. Wagner is great with action scenes and creates a wonderfully likeable "bad guy" type character here.

When a strange bloodstone ring is accidentally unearthed from where it has lain for countless centuries, it marks the reawakening of an evil of elder Earth. And when that ring falls into the hands of the mystic warrior Kane, it marks a dark day for all of mankind. Kane, with his vast experience, is playing a game, a game that only he sees the end of, and even he might just have miscalculated.

Karl Edward Wagner (1945-94) was an American author of some of the finest horror and fantasy literature to have been written, and one of his most interesting creations was the man Kane, an undying warrior and scholar. Overall, I found this book to be a positively gripping read. I found the setting to be quite interesting, and the characters to be absolutely fascinating. If you like such fantasy literature as Robert E. Howard's Conan, then you will love this book. I know I did. I highly recommend this book.

Karl Edward Wagner's character Kane is a great blending of Moorcock's tragic hero Elric, with his sorcerous powers, and Robert E. Howard's Conan, with his enormous physical strenght and skilled swordsmanship... Kane is a great hero, with some of the best sci-fi stories I've ever read- and I've read just about all of 'em... Give Kane a try- especially Bloodstone, Night Winds and Death Angel's Shadow...

I don't like swords & sorcery, but I read the Kane stories over and over again. Why? Imagine what Conan would be like if he had brains, class, and a believable reason for being so tough. These are rip-roaring adventure stories that still manage to make you think. And Kane is one of the most colorful and fascinating characters you'll ever read about. Piecing together his history from a hint in one story and a clue in another novel is an adventure in itself. And Wagner is a writer of such gifts that he can make you like and empathize with a character who is as much villain as hero. It's a shame these books are not easy to find, but trust me, they're worth the effort.